Back Catalogue

Review: OH91 (aka Omari Champagnie) is the latest in a long line of fierce new young producers hailing from Bristol. Following on from the hype of his track "Yellow", he's back with a newie, "NoGo". It's a bouncy slice of retro early 90s house with a techy edge - totally infectious. Carlos steps up to the plate with his remix that takes in more obvious retro synths, hard tribal breaks and some pretty deep subbass. One to watch!

Review: Given Unknown To The Unknown's wide ranging remit, including bassline garage, Detroit electro and Chicago house, it was perhaps inevitable that a genuine 90s house record would find its way onto the label at some point. Originally released in 1992, OHM's "Tribal Tone" was supposedly the first tune to use the Korg M1 sound that was later immortalised by Robin S' "Show Me Love", and had considerable impact at the time, being championed The Shamen frontman Mr C, being licensed to R&S sub-label Global Cuts and US label Vibe, and finding itself remixed by the Sabres of Paradise trio. Here it finds itself with three similarly great remixes, a stripped-back, raw groover from Marquis Hawkes, a horn-heavy piece of 90s action from Capracara and a thundering mid-tempo effort from Northern Souls. Essential!

Review: A solid pairing crops up for the first release on new label Cosmic Bridge, as the hip-hop informed beats of Om Unit meet the steady dubsteppings of Kromestar. "Solar Cycle" and "Merkabah" both tread logical ground for the pair, keeping a West Coast bump present alongside the bassweight dancefloor necessities. The synths fall in a controlled fashion, immaculately produced and steady. Well worth checking and an auspicious debut release.

Review: Out on a label (Top Billin) that's a haven for hell-raising yet sophisticated electro, Australian producer One Nil drops a suite of future-humping club workers on the Gutterstorm EP. With 100 per cent feisty tropical rhythms and sinister, electro textures running throughout, you definitely want to hear the awesome drum rolls on Milt Mortez's mix of the lead song, the top-end wobble of "Congo Static" (which gets a hyped kuduro mix from the Lol Boys), the minimal bhangra work-out of "Kadesh" or the chiptune Bmore of the ace "Washing Machine".

Review: The Spam Chop EP on Mimm Recordings was an early 2012 highlight in the Juno office and the Nottingham based label returns with more genre defying material, this time from Bristolian producer Ooko. No stranger to Mimm, having contributed a track to the label's free compilation from last year, Ooko truly delivers on his cheekily titled full debut Sex Sells. Lead track "Downtown" sets the tone, chopping recycled jungle breaks up to fit a pitched down rhythmic swing that is ever present whilst the titular vocal loop and pressurized bass shift back and forth in stereo focus. Complementing this, the title track comes across as a more viscous slant on the current house vogue in Bristol, with the low end seemingly so thick it's stopping the drums from attaining their groove. Watch out for the fizzing synth line which belatedly arrives to crank up the heat, whilst fellow Bristolians My Nu Leng do a splendid job in shifting the track into broken techno territory. Don't know what you call it but this is good!

Review: Make way for Lithuanian Ophex who, after a respectable stretch of remixes, has finally delivered his virgin debut single. Naturally it's been worth the wait; "Appetite Appeal" sits comfortably across a range of styles thanks to its hip-swinging Afrobeat, old school house references, infectious groove and substantial bottom end. The remixes have been very wisely selected too - each one highlighting an aspect of the original and twisting the elements to create an entire unique reversion. Boogaloo's version pitches down the original, adds more Reese flavoured basses and comes out sounding very similar to a DirtyBird joint. DJ Kiff's "Jersey Club" mix rides roughshod with just a smidgeon of Baltimore badness while Lucid finishes the set with the most oddball of interpretations that includes all manner of found sounds and wild twists and turns.

Review: A super tight release on the label Optimum co-runs with Hyperdub's hotly tipped act Ikonika. First up, "Light Year" pairs deep rolling subs with house style beats and some enticing buzzing synth work, It's got a similar driving energy as Instra:mental's classy cut on Skream's Disfigured Dubz, "Voyeur". On the flip DS-10 employs disorientating chopped up vocals with rippling beats and smacking snares for a dubbed-out sound that is reminiscent of Boddika's recent output, with that dark soundscape and bleepy electro pattern which will appeal to electronic music fans from across the board. Sterling stuff.

Review: The Cambridge-via-Barcelona producer takes two tracks from his beautiful and critically acclaimed album Night & Day and gets Falty DL, Planet Mu head honcho Jake Slazenger, and garage/funk/2-stepper, Shortstuff in on the refix/remix treatment to add a little je ne sais quois to the equation. The exotically evocative "Coconut Coast" appears in its original form - humming, singing, chiming and cooing. Falty DL teases it into an altogether different shape; more tense, with a greater emphasis on the hazy vocal element and pared down rhythm. "Memories" is transformed into a simmering slice of rumbling bliss, with shuddering b-line and shimmering, glass-y tones courtesy of Jake Slazenger, whereas Shortstuff's focus on drone and texture adds a further sonic slant.

Review: Regular Hyperdubber Ossie comes back with this delectable single of neo-soul goodness on "Ignore", providing the perfect backdrop for Tilz's smooth delivery. In between the bluesy key stabs and whip-cracking drums, there's a perfect mixture of club dynamics and pop sensibilities, seemingly typifying the current tone that Hyperdub seems geared towards. "Find It" lets Ossie off the chain into a purely instrumental cut that gives him full scope to zoom in on those razor-sharp drums and bolster them with further layers, while the musical elements veer between chunky Moog basslines and plucked mandolins, and a whole lot more besides.

Review: Prodigious UK house producer Ossie follows up his excellent debut for Lightworks with a three track EP for Hyperdub. While the title track from the Lightworks release - "Tarantula" - had a gorgeous ravey sheen, "Set The Tone" pairs vocodered vocals and insouciant child-like cries of "ahhhh" - both of which float above a tough, percussive arrangement. Up next, "Power Of Love" takes on a more garage-esque hue, while the excellent "Moves" rounds off the release with a heady combination of neon-tinged HudMo style synths and panpot percussion. Big release from a big talent.